DOCSLIB.ORG

Parliament Celebrates Britain's Best Breakthrough Film Talent

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Parliament Celebrates Britain's Best Breakthrough Film Talent Parliament celebrates Britain’s best breakthrough film talent The Film the House 2018 winners were announced this week at the Film the House Winners’ Awards at the House of Commons. The next generation of filmmakers and scriptwriters were celebrated at an evening event attended by MPs, Lords and members of the film and television industry. The competition is run annually by MPs, in conjunction with industry professionals, and provides a fun and innovative way to highlight the importance of intellectual property rights to both creators and MPs. This year’s competition receives parliamentary sponsorship from Rt Hon Sir Kevin Barron MP, Lord Clement-Jones and Rt Hon John Whittingdale OBE MP. The competition saw an influx of entries from around the UK, with submissions for Best Original Film Script (under and over 16) and Best Short Film (under and over 16). Upcoming film talent submitted original films and scripts for their local MPs to review, with entries spanning over 70 constituencies. An expert industry panel of leading figures from across Britain’s creative landscape then chose the winners from a shortlist that had been compiled by MPs. Winners of the competition received prizes including mentoring from industry professionals, a private screening of their film for friends and family, and a certificate of classification by BBFC. The competition enjoys widespread support from industry and is sponsored by 21st Century Fox, Authors' Licensing and Collecting Society (ALCS), Lionsgate, The Motion Picture Association, Sky, Warner Bros and Viacom. We’re delighted to announce that the winners of the Film the House 2018 competition are: Best Original Film Script Under 16 Freya Hannan-Mills – The Iron Grotto When two men take refuge from bad weather in a shelter where many happy memories were experienced, one is taken back to his childhood as tragedy strikes. Best Original Film Script 16 and Over Luke Andrews – Dearest Otto A difficult reunion between an estranged father and son highlights the trauma of families who were forced to send their children away on the Kindertransport during World War 2. Best Short Film Under 16 Morgan O'Connell – The Help We Need This short film takes place in the countryside where a man lives an isolated and lonely life. When something out of the ordinary occurs, a chilling truth about his life is revealed. Best Short Film 16 and Over Karen Turner – The Silent The Silent reveals exposes the stigma around male abuse victims, and how many men suffering in these relationships remain silent. Lord Dobbs, presenter of the awards and writer and executive producer of House of Cards, said: “The UK film industry is a cornerstone of the creative industries, whose success relies heavily on the protection of intellectual property (IP). It’s essential that legislators help cultivate these industries by supporting IP rights, to ensure creators can confidently continue to produce outstanding work. Film the House is a brilliant Parliamentary competition that helps highlight the importance of IP to creatives and MPs alike, while awarding great prizes to fresh, artistic talent. I’d encourage all aspiring filmmakers and scriptwriters to get involved.” Paul Powell, writer and Film the House judge, said: “The creative industries in the UK are booming right now, with bumper growth in Britain’s film, TV, music and digital industries. According to the DCMS, the creative industries are worth £101.5 billion to the UK economy. We need to protect that contribution by supporting new talent, guaranteeing fair remuneration, recognising the importance of Intellectual Property and ring-fencing copyright. From writers and directors through to musicians and games developers, creators are at the heart of the British economy.” Note to Editors For further information please visit filmthehouse.co.uk or contact [email protected]. About 21st Century Fox 21st Century Fox is the world’s premier portfolio of cable, broadcast, film, pay TV and satellite assets spanning six continents across the globe. Reaching more than 1.8 billion subscribers in approximately 50 local languages every day, 21st Century Fox is home to a global portfolio of cable and broadcasting networks and properties, including FOX, Fox News Channel, Fox Business Network, FOX Sports, National Geographic, 28 local television stations in the U.S. and more than 350 international channels; film studio Twentieth Century Fox Film; and television production studios Twentieth Century Fox Television. About the Authors’ Licensing and Collecting Society (ALCS) The Authors’ Licensing and Collecting Society (ALCS) is a not-for-profit organisation started by writers for the benefit of all types of writers. Owned by its members, ALCS collects money due for secondary uses of writers’ work. It is designed to support authors and their creativity, ensure they receive fair payment and see their rights are respected. It promotes and teaches the principles of copyright and campaigns for a fair deal. It represents over 100,000 members, and since 1977 has paid around £500 million to writers. About Lionsgate Lionsgate is a global content platform whose films, television series, digital products and linear and over-the-top platforms reach next generation audiences around the world. In addition to its filmed entertainment leadership, Lionsgate content drives a growing presence in interactive games and location-based entertainment, virtual reality and other new entertainment technologies. Lionsgate’s content initiatives are backed by a nearly 17,000-title film and television library and delivered through a global licensing infrastructure. About the Motion Picture Association The Motion Picture Association (MPA) serves as the voice and advocate of the six major international producers and distributors of films, home entertainment and television programmes. We are champions of IP rights, free and fair trade, innovative consumer choices, freedom of expression and the enduring power of movies to enrich people’s lives. To do so, we promote and protect the intellectual property rights of our member companies and conduct public awareness programmes to highlight to movie fans around the world the importance of content protection. These activities have helped to transform entire markets benefiting film and television industries in each country including foreign and local filmmakers alike. About Sky Sky is the UK’s largest pay-TV broadcaster with 23 million customers as of 2018, providing television and broadband Internet services, fixed line and mobile telephone services to consumers and businesses in the United Kingdom. About Viacom Viacom creates entertainment experiences and drives conversation and culture. It is home to a leading portfolio of global television, film, digital, live events, merchandise and studio production brands, including Comedy Central, MTV, Nickelodeon, Paramount Channel, VH1, VIVA, BET and Paramount Studios. Paramount produces many of its films in the UK including recent releases Allied and Mission Impossible: Fallout, and the forthcoming Rocketman. Viacom is also proud to own UK public service broadcaster Channel 5 which delivers high-quality original UK drama, history and children’s programmes, as well as trusted news and current affairs. About Warner Bros. Entertainment Inc Warner Bros. Entertainment Inc. is a fully integrated, broad-based entertainment company and a global leader in the creation, production, distribution, licensing and marketing of all forms of entertainment and their related businesses. A WarnerMedia Company, the Studio is home to one of the most successful collections of brands in the world and stands at the forefront of every aspect of the entertainment industry from feature film, television and home entertainment production and worldwide distribution to DVD and Blu-ray, digital distribution, animation and broadcasting. The company’s vast library consists of more than 75,000 hours of programming, including nearly 7,000 feature films and 5,000 television programs. In the UK, Warner Bros. has the broadest footprint of businesses outside of the US, including; Warner Bros. Television Production UK (formerly Shed Media), Warner Bros. Studios Leavesden, Warner Bros. Studio Tour London – The Making of Harry Potter, TT Games, Rocksteady Studios and WB De Lane Lea. .
Load more

Recommended publications
  • Dec. 22, 2015 Snd. Tech. Album Arch
    SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London.
    [Show full text]
  • East-West Film Journal, Volume 7, No. 1 (January 1993)
    EAST-WEST FILM JOURNAL VOLUME 7· NUMBER 1 SPECIAL ISSUE ON CINEMA AND NATIONHOOD Baseball in the Post-American Cinema, or Life in the Minor Leagues I VIVIAN SOBCHACK A Nation T(w/o)o: Chinese Cinema(s) and Nationhood(s) CHRIS BERRY Gender, Ideology, Nation: Ju Dou in the Cultural Politics of China 52 w. A. CALLAHAN Cinema and Nation: Dilemmas of Representation in Thailand 81 ANNETTE HAMILTON Tibet: Projections and Perceptions 106 AISLINN SCOFIELD Warring Bodies: Most Nationalistic Selves 137 PATRICIA LEE MASTERS Book Reviews 149 JANUARY 1993 The East-West Center is a public, nonprofit education and research institution that examines such Asia-Pacific issues as the environment, economic development, population, international relations, resources, and culture and communication. Some two thousand research fellows, graduate students, educators, and professionals in business and government from Asia, the Pacific, and the United States annually work with the Center's staff in cooperative study, training, and research. The East-West Center was established in Hawaii in 1960 by the U.S. Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, private agencies, and corporations and through the East- West Center Foundation. The Center has an international board ofgovernors. Baseball in the Post-American Cinema, or Life in the Minor Leagues VIVIAN SOBCHACK The icons of our world are in trouble.! LEEIACOCCA AT THE beginning of Nation Into State: The Shifting Symbolic Founda­ tions of American
    [Show full text]
  • Sharon20lawrence20-20Jimi20hendrix20the20man2c20the20magic2c20the20truth
    Jimi Hendrix THE MAGIC, THE MAN, THE TRUTH SHARON LAWRENCE Technically, I’m not a guitar player.AllIplayistruthandemotion. —JIMI H ENDRIX Contents Prologue.....v PART ONE: A BOY-CHILD COMIN’ ONE......Johnny/Jimmy.....3 TWO.....Don’tLookBack.....9 THREE.....FlyingHigh.....21 FOUR.....TheStruggle.....27 PART TWO: LONDON, PARIS, THE WORLD! FIVE.....ThrillingTimes.....47 SIX.....“TheBestYearofMyLife”.....69 SEVEN.....Experienced.....91 EIGHT.....AllAlongtheWatchtower.....119 NINE.....TheTrial.....159 TEN.....Drifting.....175 ELEVEN.....PurpleHaze.....189 TWELVE.....InsidetheDangerZone.....207 Coda.....217 Contents PART THREE: THE REINVENTION OF JIMI HENDRIX INTRODUCTION.....229 THIRTEEN.....1971–1989:TheNewRegime.....231 FOURTEEN.....1990–1999:ASeriesofShowdowns.....247 FIFTEEN.....2000–2004:Wealth,Power,and ReflectedGlory.....271 PART FOUR: THE TRUE LEGACY.....319 ACKNOWLEDGMENTS.....337 ABOUT THE AUTHOR CREDITS COVER COPYRIGHT ABOUT THE PUBLISHER IV PROLOGUE F EBRUARY 9,1968 Iobservedtheextravagantaureoleofcarefullyteasedblackhair.The face,withitsluminousbrowneyeslookingdirectlyatme,wasgentle. His handshake was firm. He smiled warmly, respectfully even, and saidinalow,whisperyvoice,“Thanksforcomingouttonight.” SothiswasJimiHendrix.TheexoticphotographsI’dseeninthe English music papers offered a somewhat terrifying image. On this night,though,Imetashy,politehumanbeing. “Sharon,”LesliePerrin hadsaidon thetelephone,“I’vejustar- rivedfromLondon,andI’dliketointroduceyoutoJimiHendrix.He’s veryspecial.Andhe’splayingnearDisneylandtonight!” ForyearsLesliePerrinhadbeenafigureinLondonpressandmu-
    [Show full text]
  • To Download The
    INSIDE THIS ISSUE Horoscopes ........................................................... 2 Now Streaming ...................................................... 2 Puzzles ................................................................... 4 TV Schedules ......................................................... 5 Spotlight on “The ‘Celebrity Show- A foodie’s Top 10 ................................................................... 6 6 Graduate” director 7 Off’ for charity 7 quarantine binge Home Video .......................................................... 7 July 25 - July 31, 2020 ‘Tell Me a Story’ interweaves fairy tales into dark, dramatic thriller BY JAY BOBBIN Adapting “Tell Me a Story” from the Spanish Williamson after their “Vampire Diaries” days – Paul series “Cuentame un Cuento,” Williamson explains Some stories are worth telling anew. Wesley also are in “Tell Me a Story’s” first season. that he and his creative team “chose these three Wesley and Campbell returned in different roles for The CW evidently believes so, since it’s bringing a fairy tales because they sort of complemented each the show’s second and final round, which adapted series from a sister outlet to broadcast television. “Tell other with their themes and the morals of the stories. “Sleeping Beauty,” “Cinderella” and “Beauty and the Me a Story” streamed on CBS All Access, and the They told three diverse story lines, and (we’ve) sort Beast” in its own way (and added Odette Annable show begins again as it makes its CW debut Tuesday, of interwoven them in a way in which the original and Carrie-Anne Moss, among others, as co-stars). July 28. Executive-produced by Kevin Williamson series did not. The ‘Three Little Pigs’ story line might “Tell Me a Story” likely will undergo some editing (“The Vampire Diaries”), it puts contemporary, be reminiscent of the original (show), but ‘Little despite The CW’s trademark edginess, since content sometimes creepy twists on classic fairy tales – for Red Riding Hood’ and ‘Hansel and Gretel’ are just standards differ in the streaming world.
    [Show full text]
  • Index to Volume 29 January to December 2019 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>2 GREAT BRITAIN: ffrr, 1944-57 In a business where exclusive contracts were the norm, it was very difficult for a newcomer to become established and Decca’s initial roster of classical artists was unable to compete with established rivals. In March 1932 an agreement with Polydor provided access to a substantial catalogue of German artists and a year later the company virtually abandoned classical recording to concentrate on dance bands. The move to Thames Street Studios provided more scope for orchestral sessions and a bold policy of recording contemporary British music enhanced the label’s reputation. The newly formed Boyd Neel Orchestra was signed up in 1934, followed by the Griller String Quartet in 1935, Clifford Curzon in 1937, Peter Pears in 1944, Kathleen Ferrier in 1946 and Julius Katchen in 1947. War broke the link with Polydor, leaving Decca with a respectable catalogue of chamber music, but little symphonic repertoire. Armed with ffrr technology, the company began to remedy this in 1944, engaging Sidney Beer’s National Symphony Orchestra until 1947 and the misleadingly named New Symphony Orchestra (it had made its first recordings in 1909) from 1948. Neither developed into a house band to rival EMI’s Philharmonia and, with the Royal Philharmonic also exclusive to EMI, Decca had to resort to the LSO and the LPO, both in rather run-down condition in the post-war years. Meanwhile every opportunity was taken to impress visiting continental orchestras with ffrr sessions and it was evident that the company intended to transfer much of its symphonic work to Paris, Amsterdam, Geneva and Vienna as soon as practicable.
    [Show full text]
  • The Rolling Stones Complete Recording Sessions 1962 - 2020 Martin Elliott Session Tracks Appendix
    THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962 - 2020 MARTIN ELLIOTT SESSION TRACKS APPENDIX * Not Officially Released Tracks Tracks in brackets are rumoured track names. The end number in brackets is where to find the entry in the 2012 book where it has changed. 1962 January - March 1962 Bexleyheath, Kent, England. S0001. Around And Around (Little Boy Blue & The Blue Boys) (1.21) * S0002. Little Queenie (Little Boy Blue & The Blue Boys) (4.32) * (a) Alternative Take (4.11) S0003. Beautiful Delilah (Little Boy Blue & The Blue Boys) (2.58) * (a) Alternative Take (2.18) S0004. La Bamba (Little Boy Blue & The Blue Boys) (0.18) * S0005. Go On To School (Little Boy Blue & The Blue Boys) (2.02) * S0006. I'm Left, You're Right, She's Gone (Little Boy Blue & The Blue Boys) (2.31) * S0007. Down The Road Apiece (Little Boy Blue & The Blue Boys) (2.12) * S0008. Don't Stay Out All Night (Little Boy Blue & The Blue Boys) (2.30) * S0009. I Ain't Got You (Little Boy Blue & The Blue Boys) (2.00) * S0010. Johnny B. Goode (Little Boy Blue & The Blue Boys) (2.24) * S0011. Reelin' And A Rockin' (Little Boy Blue & The Blue Boys) * S0012. Bright Lights, Big City (Little Boy Blue & The Blue Boys) * 27 October 1962 Curly Clayton Sound Studios, Highbury, London, England. S0013. You Can't Judge A Book By The Cover (0.36) * S0014. Soon Forgotten * S0015. Close Together * 1963 11 March 1963 IBC Studios, London, England. S0016. Diddley Daddy (2.38) S0017. Road Runner (3.04) S0018. I Want To Be Loved I (2.02) S0019.
    [Show full text]
  • Download New Glass Review 12.Pdf
    The Corning Museum of Glass NewGlass Review 12 The Corning Museum of Glass Corning, New York 1991 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1990 calendar year. innerhalb des Kalenderjahres 1990 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Expemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1991 Alle Rechte vorbehalten, 1991 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-i 1-124-6 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der KongreB-Biicherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 55 ach der Review des letzten Jahres, sind in den laufenden Ausga- Jury Statements Nben von Neues Glas verschiedene kritische Kommentare er- schienen. Eines haben sie deutlich gemacht: Wir haben verabsaumt, herauszustellen was die New Glass Review eigentlich ist. Das ist frustrierend, denn jedes Jahr, seit genau 14 Jahren*, haben meine ollowing last year's New Glass Review, various critical comments einfuhrenden Worte versucht, darauf hinzuweisen, daB die Review sich Fwere printed in the subsequent issue of Neues Glas.
    [Show full text]
  • September 28–October 15, 2017 . Filmlinc.Org/Nyff Table of Contents
    SEPTEMBER 28–OCTOBER 15, 2017 . FILMLINC.ORG/NYFF TABLE OF CONTENTS Schedule 2 Spotlight on Documentary 46 Main Slate 6 Projections 56 Shorts 20 Retrospective: Robert Mitchum Centenary 64 Talks 22 Artist Initiatives 80 Special Events 24 Film Society Board & Staff 82 Convergence 32 About the Film Society 84 Revivals 36 NEW YORK FILM FESTIVAL PROGRAMMERS SELECTION COMMITTEE MAIN SLATE . REVIVALS . SPOTLIGHT ON DOCUMENTARY Kent Jones Chair Florence Almozini Associate Director of Programming, Film Society of Lincoln Center (FSLC) Dennis Lim Director of Programming, FSLC Amy Taubin Contributing Editor, Film Comment and Artforum CONVERGENCE PROJECTIONS RETROSPECTIVE Matt Bolish Dennis Lim & Aily Nash Kent Jones & Dan Sullivan SHORTS Narrative: Gabi Madsen . Genre Stories: Laura Kern . New York Stories: Dan Sullivan . Documentary: Tyler Wilson NYFF 4C MAG - FULL PAGE INSIDE FRONT COVER AMA1157 ISSUE DATE: XX/XX/17 FINAL2 DUE DATE: 08/24/17 08/24/17 10:45AM ES MECHANICAL SIZE TRIM: 8.25"W x 8.5"H LIVE: 7.75"W x 8"H BLEED: 8.5"W x 8.75"H SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 28 29 30 SECTIONS: VENUES: OPENING NIGHT 4:00 Story of G.I. Joe ret/wrt 12:30 Four Sisters: se/ath 6:00 Last Flag Flying ms/ath 6:00 Mrs. Hyde ms/ath Hippocratic Oath cvg CONVERGENCE ALICE TULLY HALL 6:15 Last Flag Flying ms/wrt 6:00 Daughter of the Nile rev/fbt 12:45 New York Shorts sho/wrt ath West 65th Street at Broadway 9:00 Last Flag Flying ms/ath 6:30 El mar la mar doc/wrt 1:30 The Wonderful Country ret/fbt doc SPOTLIGHT ON DOCUMENTARY 9:15 Last Flag Flying ms/wrt 6:30 His Kind of Woman ret/hgt 3:00 Western ms/ath DOWNLOAD THE FILM SOCIETY APP! ELINOR BUNIN MUNROE FILM CENTER 7:00 VR and the Future of cvg/amp 3:00 No Stone Unturned doc/wrt ms MAIN SLATE 144 West 65th Street Virtual Production 3:00 The Old Dark House rev/hgt amp AMPHITHEATER by Lucasfilm (Free Talk) 4:00 Documentary Shorts sho/fbt pjt PROJECTIONS 8:30 The Square ms/ath 5:00 Pursued ret/hgt ebm LOBBY 8:30 Casa de Lava rev/fbt 6:00 Zama ms/ath FILMLINC.ORG/NYFF .
    [Show full text]
  • Fiscal Year Annual Report 01 WELCOME Sundance Institute Annual Report
    Sundance Institute Fiscal Year Annual Report 01 WELCOME Sundance Institute Annual Report Welcome As we navigate another year of global events and changes that are defining our times, we again turn to artists for insight and inspiration. Artists who open our eyes to new worlds and new ways of understanding different perspectives. Artists who harness the power of storytelling to activate important conversations and actions. With deep and sustaining support provided to more than 1,400 artists, including over $16 million invested in labs, grants, and fellowships, Sundance Institute’s commitment to support the visionary work of independent artists is uncompromising this year. We’re excited to share with you our 2019 Annual Report that illuminates three critical pillars of our mission in action: supporting the most talented independent artists around the world and advancing their creative practices; fostering an inclusive community to hear from underrepresented voices on the screen and stage; and catalyzing the impact of independent storytelling. Thank you to the dedicated staff, volunteers, and community of supporters of Sundance Institute who all come together in the shared belief that a world more connected through storytelling and a common humanity is a better world. We look forward to what’s possible in the year ahead. Robert Redford President & Founder Pat Mitchell Chair, Board of Trustees Robert Redford Pat Mitchell 02 WELCOME Sundance Institute Annual Report Welcome I am constantly amazed by the curiosity and passion of artists, and inspired by their creative journeys—a process fueled by reflection, risk-taking, and an openness to new possibilities. In 2019, Sundance Institute continued its own creative journey as we saw great opportunities for learning and evolving our own work to respond to the changing environment for artists around the world.
    [Show full text]
  • Roblematises This View, Focusing Instead on the Potential for Success of the Various Production Strategies Employed by Scottish Film-Makers
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Why Not a Scots Hollywood? Fiction film production in Scotland, 1911-1928 Caroline Merz Doctor of Philosophy The University of Edinburgh 2016 Declaration I declare that this thesis has been composed solely by me and that it has not been submitted, in whole or in part, for any other degree or professional qualification, nor has it been published in any form. Except where explicitly stated otherwise by reference or acknowledgement, the work presented is entirely my own. Signature ………………………………………….. 1 Abstract This thesis addresses a neglected area of British national cinema history, presenting the first comprehensive study of Scotland’s incursions into narrative film production before the coming of sound. It explores both the specificity of Scottish production and its place within the broader cultural, political and economic contexts of the British film industry at key periods in the ‘silent’ era before and after the Great War.
    [Show full text]
  • 1- United States Bankruptcy Court Southern District Of
    15-12065-mew Doc 5 Filed 09/25/15 Entered 09/25/15 07:46:12 Main Document Pg 1 of 345 UNITED STATES BANKRUPTCY COURT SOUTHERN DISTRICT OF NEW YORK In re: Chapter 11 RELATIVITY FASHION, LLC, et al.,1 Case No. 15-11989 (MEW) Debtors. (Jointly Administered) GLOBAL NOTES REGARDING THE DEBTORS’ SCHEDULES OF ASSETS AND LIABILITIES AND STATEMENTS OF FINANCIAL AFFAIRS Relativity Fashion LLC, Relativity Holdings LLC, Relativity Media LLC (“RML”) and their affiliated debtors and debtors in possession (collectively, the “Debtors”), are filing their respective Schedules of Assets and Liabilities (each, a “Schedule” and, collectively, the “Schedules”) and Statements of Financial Affairs (each, a “SOFA” and, collectively, the “Statements”) pursuant to section 521 of title 11 of the United States Code (the “Bankruptcy Code”) and Rule 1007 of the Federal Rules of Bankruptcy Procedures (the “Bankruptcy Rules”). The Debtors’ management prepared the Schedules and Statements with the assistance of their advisors and other professionals. The Schedules and Statements are unaudited. The Debtors’ management and advisors have made reasonable efforts to ensure that they are as accurate and complete as possible under the circumstances based on information that was available to them at the time of preparation; however, subsequent information or discovery may result in material changes to the Schedules and Statements and inadvertent errors or omissions may exist. The Debtors may, but shall not be required to, update the Schedules and Statements as a result of the
    [Show full text]